Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Mongolia and from Jakarta.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1962 to 1976.
I'm losing my edge.
To all the kids in Taipei and Mumbai.
I'm losing my edge to the art-school Johannesburg kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the clarinet sounds with much patience.
I was there when David Bowie started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Jawbox to the grime kids.
I played it at the Roxy.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Cluster. All the underground hits.
All Alphaville tracks. I heard you have a vinyl of every Q and Not U record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Funkadelic record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dark Day,
The Barracudas,
Deakin,
Laurel Aitken,
Funkadelic,
Barry Ungar,
Vaughan Mason & Crew,
Crash Course in Science,
Adolescents,
The Buckinghams,
Camberwell Now,
The Neon Judgement,
Bobby Womack,
Leonard Cohen,
Freddie Wadling,
Symarip,
Robert Wyatt,
Sandy B,
Grandmaster Flash,
Suicide,
The Mojo Men,
Susan Cadogan,
The Fortunes,
Marvin Gaye,
Godley & Creme,
Ronan,
Joy Division,
the Slits,
Tears for Fears,
Dual Sessions,
Big Daddy Kane,
David Axelrod,
Carl Craig,
Negative Approach,
Public Image Ltd.,
Magma,
The Doors,
Rekid,
Gang of Four,
Gian Franco Pienzio,
Fad Gadget,
Gang Green,
Make Up,
Pete Rock & C.L. Smooth,
Heavy D & The Boyz,
Andrew Ashong & Theo Parrish,
Chrome,
Matthew Bourne,
Lou Christie,
Stiv Bators,
The Cowsills,
The Music Machine,
The Gladiators,
Notorious BIG live in Amsterdam,
Parry Music,
Graham Central Station,
Grey Daturas,
Jacques Brel,
Pantytec,
Malaria!, Malaria!, Malaria!, Malaria!.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.